Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
20-Year-Old Jayden Binnix, aka Black Polish, just released their second album, YUNA, a concept album about a succubus that feeds off the souls of men. It’s pretty bonkers and amazing, and we had a wonderful chat about this record, their early work, being a non-binary artist on a major label, and, as usual, a bunch of nerdy wormholes were stumbled upon.
YUNA is out TODAY from BMG. Stream it at your favorite DSP!
On the heels of Guillermo Del Toro’s Frankenstein, and just in time for Halloween, comes a whimsical spin on the Frankenstein story, the animated comedy Stitch Head. It’s the first family film of the holiday season, heartwarmingly written and directed by Steve Hudson (True North). Undeniably self-aware and filled with equal amounts of kid-friendly and Monty Python-style humor, Stitch Head brings Guy Bass’s book series to life with charming, colorful vibrancy and carries with it a positive message about friendship and self-worth. Continue reading “Film Review: “Stitch Head””
There are a few musical tricks that I love more than a song that is just a continuous build-up of anxiety. “Cost Of Living” by Jewelry Exchange is *almost* that. It’s weird, because it’s both anxious AND hopeful, which is a line I keep finding myself balancing these days. It’s so bloody good, and the end? It just leaves you feeling dropped. Much like, well, life in 2025. I’m still not sure what I’m supposed to feel with this song, but I’m going to put it on again in hopes that I find it.
“Cost of Living” is the first single off Jewelry Exchange’s upcoming album Bedazzled. You can prepare yourself for its arrival at this link.
They’ve even blessed us with a short West Coast tour next month!
11/7: The Valley in Tacoma, WA
11/8: The Crypt in Olympia, WA
11/9: Bad Bar in Seattle, WA
11/10: Mississippi Studios in Portland, OR
11/12: The Knockout in San Francisco, CA
11/13: Thee Stork Club in Oakland, CA (SEE YOU THERE!)
11/14: Vine in Long Beach, CA
Bruce Springsteen’s loyal longtime fans are bound to love the awkwardly-titled Springsteen: Deliver Me from Nowhere, but whether or not anyone else will is questionable. Those seeking a comprehensive biopic of the rock star in the vein of Rocketman (Elton John), Back to Black (Amy Winehouse), or Bohemian Rhapsody (Freddie Mercury) won’t find it here. Instead, based on the 2023 book Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska by Warren Zanes, the picture covers only one specific moment in Bruce’s life: the period when he wrote and recorded his 1982 album Nebraska. Continue reading “Film Review: “Springsteen: Deliver Me From Nowhere””
Director Guillermo Del Toro has been waiting to adapt Mary Shelley’s Frankenstein; or, The Modern Prometheus (that’s the full book title) ever since he saw the 1931 film Frankenstein at age eleven. His aspiration should come as no surprise to those familiar with his work — the gothic aesthetic and creature designs in his films have become synonymous with his name, like in Pan’s Labyrinth, Hellboy, and The Shape of Water. Del Toro has finally made his version of Frankenstein, produced and distributed by Netflix. The streaming company’s involvement may or may not have contributed to the film’s decision to include computer-generated (CG) animals, and imbue many of the film’s scenes with what I can only describe as a distracting “Netflix sheen.” The director’s devotion to the source text is commendable and gives the film a deeper emotional and philosophical resonance, even if the end result may baffle viewers unfamiliar with Shelley’s book. Continue reading “Film Review: “Frankenstein””
Another 1990s thriller has been remade (see: Presumed Innocent; Fatal Attraction): the 1992 film The Hand that Rocks the Cradle. Stylishly directed by Michelle Garza Cervera (Marea Alta), the new The Hand that Rocks the Cradle is tense and atmospheric, but bears the brunt of its predictability and slow pace. The original film was wickedly outlandish, helping it achieve status over time as the quintessential “evil babysitter” movie. Unfortunately, the remake lacks the willingness to let loose. Continue reading “Film Review: “The Hand that Rocks the Cradle””
Luca Guadagnino’s Call Me By Your Name earned the coveted #1 spot on my Top 10 List back in 2017, but none of his films since then have come close to that level of excellence. While last year’s Challengers was at least decently entertaining, Guadagnino’s newest, After the Hunt, is another disappointment. Continue reading “Film Review: “After the Hunt””
This song is such a lovely little jam. It’s big, it’s cinematic. It’s dark and bright at the same time. It’s ethereal and a dance floor burner. I don’t really know what to feel with this song, and that’s what makes it so bloody great. “SYNESTHESIA” by Azam Ali is our single of the week, and all you need to know is that you should listen to this track.
“SYNESTHESIA” is the second single off the album of the same name, and it’s coming your way on November 14th. Preorder here!
Once again this year, audiences are invited to see a new comedy in theaters! Good Fortune is high-concept, taking the sentimentality of ‘30s and ‘40s era Frank Capra films (It Happened One Night; Mr. Smith Goes to Washington; It’s a Wonderful Life) and injecting a comical “what if” scenario and a modern-day setting. The film is also writer, actor, and comedian Aziz Ansari’s feature-length directorial debut. Using Good Fortune’s twist on fate and wealth, Ansari primarily explores the demoralizing nature of gig work and how it perpetuates economic inequality. Good Fortune doesn’t shed new light on existing problems, nor does it offer a realistic solution, but the film’s blunt jokiness and the unexpectedly winning trio at the film’s center give it wings. Continue reading “Film Review: “Good Fortune””
Can a film be simultaneously very good and also excruciatingly stressful to watch? Yes, I think so! Unpleasant viewing experiences can either be earned or unearned (read: purposeful or not on purpose). Mary Bronstein’s new film, If I Had Legs I’d Kick You, falls into the former category. A fraught tale delivered with sensory bombast and utilizing a powerhouse performance by Rose Byrne, If I Had Legs I’d Kick You is a siren song to motherhood. Continue reading “Film Review: “If I Had Legs I’d Kick You””
